Sentences with phrase «made in commercial galleries»

That data can be misleading since it's based solely on public auction sales and doesn't reflect purchases made in commercial galleries.

Not exact matches

Showing in a commercial London gallery for the first time, Pasquali has created a large - scale, colourful, plastic cloud in Peckham's MOCA London, and filled Mayfair's Tornabuoni Art with a cross-section of her works, from her best - known pieces made with drinking straws, to a carpet of broom bristles, on which we sit to talk, during a break from installation.

I fell in love with the idea of making historical exhibitions in a commercial gallery.

The establishment of The Modern Institute by Will Bradley, Charles Esche and Toby Webster in 1998 and more recently, the young commercial galleries Sorcha Dallas and Mary Mary has changed that situation to a certain extent, but Glasgow remains a city in which many artists make work that they do not expect to sell.

Uniquely positioned among commercial galleries and major art establishments, our nonprofit organization provides a local venue that advocates and exhibits innovations in art - making.

«Made of glazed and fired clay, Rosen's primary medium, and not more than a few feet high... the sculptures seem to have neither fixed contours nor stable shape; even their scale appears to shift as you look... not so much covered with as compounded of hundreds of writhing, snakelike elements, they are variously volcanic, beastly, catastrophic and unnervingly funny, suggesting things going terribly wrong, but not yet irreversibly...» Nancy Princenthal Rosen's work has been in many solo shows in museums, commercial galleries and non-profit spaces.

One theme of the exhibition is mobility, made possible by commercial aviation at the time when Dwan founded her gallery in Los Angeles — only a few years before she owned and operated galleries on both coasts.

Despite O'Doherty's debunking of this context, the white cube mode of exhibiting continues to underpin much exhibition - making in the West, from commercial galleries that are designed to look like modern art museums (think of David Zwirner's minimalist 30,000 square foot space on 20th Street in New York) to websites such as Contemporary Art Daily that tend to privilege the flattened picture surfaces of post-minimalist paintings, which look good filtered through the even light of a laptop screen.

Despite O'Doherty's debunking of this context, the white cube mode of exhibiting continues to underpin much exhibition - making in the West, from commercial galleries that are designed to look like modern art museums (think of David Zwirner's minimalist 30,000 square foot space on 20th Street in New York) to

This summer, four shows at commercial galleries in London — White Cube, Lisson, Carl Freedman and Paradise Row — were located at various points between these two poles of exhibition - making.

They often do installs that don't make a lot of sense from a strictly commercial model or even a conventional curatorial mindset — once they hung a single Baldessari in the gallery and surrounded it with a ball pit.

Using pre-fabricated commercial materials and processes that combine mark - making and casting, Arps» installations transform the gallery into a distinct reality not usually at home in an art context.

John Updike took up the same cause 25 years later: «In the heyday of Abstract Expressionism, the scorn was simple gallery politics; but resistance to Wyeth remains curiously stiff in an art world that has no trouble making room for Photorealists like Richard Estes and Philip Pearlstein and graduates of commercial art like Wayne Thibauld, Andy Warhol, and for that matter, Edward Hopper.&raquIn the heyday of Abstract Expressionism, the scorn was simple gallery politics; but resistance to Wyeth remains curiously stiff in an art world that has no trouble making room for Photorealists like Richard Estes and Philip Pearlstein and graduates of commercial art like Wayne Thibauld, Andy Warhol, and for that matter, Edward Hopper.&raquin an art world that has no trouble making room for Photorealists like Richard Estes and Philip Pearlstein and graduates of commercial art like Wayne Thibauld, Andy Warhol, and for that matter, Edward Hopper.»

Annabelle Selldorf in New York, Seth Stein and Thomas Croft in London, Jim Olsen in Seattle and Isay Wein eld in São Paulo have made careers designing not only galleries but houses and apartments for gallerists and collectors which employ a similar architectural language to the commercial or civic spaces where art is shown.

First, the large - scale commercial gallery exhibition abc — which many consider to be effectively an art fair — is taking place again, this time making a collective effort to include off - spaces (not - for - profit ventures) in the presentation.

In my experience, Creative Capital grantees often make work that is socially and politically engaged and / or an uneasy fit within the commercial gallery or film world.

The work originated in the mid - to late»60s among sculptors trying to escape the commercial gallery system and to liberate themselves from conventional object - making.

What made the MOCA appointment unusual in this context was that Mr. Deitch went in the opposite direction, giving up his eponymous commercial gallery in order to run a nonprofit institution that needed reinventing.

«Lunar State ``, on show at Jhaveri Contemporary from 12 November until 20 December 2014, is Shambhavi Kaul's first solo exhibition in a commercial art gallery and comprises three short films — Night Noon, Mount Song, and Scene 32 — made between 2009 and 2014, and Planet, a digital prints series.

We visited Birdo Flugas, an independent commercial gallery in Sendai that was completely flooded last year but seems to have made very good recovery and is presenting a very personal and varied programme.

A hero of graffiti, surfer, and skate - punk subcultures, Barry McGee makes paintings, sculptures, and multimedia installations that have won wide acclaim in the institutional settings of museums and commercial galleries.

Following a decade - long hiatus from the commercial gallery world, Howardena Pindell will debut a new body of abstract paintings and collages made in the past three years.

was a free - wheeling combination of project space, commercial gallery, Mom - and - Pop - Kunsthalle, and exhibition - making machine that proposed an experimental space of display in which the radical possibilities of disparate disciplines, historical periods, and modes of production rubbed shoulders.

Thematic exhibitions in commercial art galleries can be disappointing affairs, designed not to make an aesthetic or theoretical point, but to showcase backroom inventory.

His colossal ambition is palpable even in these early pieces, most of which were made for museums or major commercial galleries such as Hauser & Wirth, and which are exhibited here alongside his detailed instructions for their future conservation.

In 1968, she opened a commercial art gallery in Jamaica, was commissioned by Norwegian Cruise Lines to make 300 works on paper for display on three of its ships, and co-founded the Jamaican Artists and Craftsmen GuilIn 1968, she opened a commercial art gallery in Jamaica, was commissioned by Norwegian Cruise Lines to make 300 works on paper for display on three of its ships, and co-founded the Jamaican Artists and Craftsmen Guilin Jamaica, was commissioned by Norwegian Cruise Lines to make 300 works on paper for display on three of its ships, and co-founded the Jamaican Artists and Craftsmen Guild.

The gallery's commercial bent is not only made explicit by its English and Chinese moniker (a pun on the name of China's economic reform guru, Deng Xiaoping), but in its programming, which since its inception in 2008 has been dominated by painting.

Here's what she said: «Getting started in the commercial gallery world is best facilitated by engagement with the arts community; participating in public events, residencies, group shows, etc. and building relationships with other artists is one of the better ways to get your work seen while making connections to other curators and gallerists.

She wanted to use that space to showcase unaffiliated artists, which then meant not the hottest young artist out of an MFA program, but whoever hadn't had a lot of gallery exposure and who wasn't making it in the commercial world, which is really wonderful.

Shuzo Azuchi Gulliver September 13 — October 11 Aoyama Meguro, Tokyo With the senior members of the Kiyosumi gallery complex winding down their run in the former warehouse space, and harsh market conditions making it rough for emerging programs, 2014 was an off - year for galleries, with the commercial scene in general having a routine feel to it.

Virginia Dwan, founder of leading avant - garde galleries in Los Angeles and New York, was a force in a nation made mobile by commercial airlines and the interstate highway system.

Born in 1994 as an informal artist collective to create an alternative platform to the commercial gallery scene, it is now a professional multi-use facility where artists make new work and present exciting projects to a diverse audience.

Yet a rt with a political edge, or at least a heightened awareness of this moment, has made an impact at commercial galleries in London over the last couple of weeks.

Many of the pictures in «Rhythms of Time,» her show at the Art League Gallery, depict commercial facades, their simple designs made complex by shadows and reflections.